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In the interview with Emily Roehl, artist Steve Rowell describes his style in contrast to the more "didactic" approach of land use and documentary photography. Instead, he has come to combine his visual works with sound installations that are meant to unsettle. These sounds are often generated based on air pollution data that he has collected (Roehl and Rowell, 2022, p. 137). Rowell further describes how changes in the development of aerial video and photography technology have shaped his work. In the past, Rowell would rent expensive camera equipment and attach them to a helicopter to generate fly-over images (Roehl and Rowell, 2022, p. 140). Though commercial drones have become available, Rowell says that he soon got dissatisfied with the "slick" images they produce. When using drones, Rowell relies on an angle that faces down or is close-up, creating feelings of uncanniness. These unusual perspectives are combined with split imagery and mirroring to achieve a specific effect: “There’s a value in giving the viewer/listener a chance to distrust the work in the same way there’s value in giving them room to question the work. The landscapes I feature are all altered. What landscape isn’t now? That’s the point.” (Roehl and Rowell, 2022, p. 140).

Steve Rowell is an educator and research artist, currently working on “long-term projects that use image, sound, and archival practice to interrogate the relationship between humans, industry, and the environment” (Roehl and Rowell, 2022, p. 136). Rowell has worked extensively with the Center for Land Use Interpretation (CLUI) in Los Angeles, including a comissioned project for which he photographed every petrochemical plant in Texas (ibid, p. 137). In subsequent projects, he has focused on tracing pipelines going from the Alberta Tar Sands to petrochemical communities in Long Beach, California and Port Arthur, Texas. Another recent project focuses on the industrial ecology of Houston's Buffalo Bayou. 

Travis County:

Days with high wet bulb temperatures: 1-5

Average number of very large fires per year: NA

Percentage of property below high tide: 0

Percent decline in crop yields: 44%-67%

Climate damage as a percent of GDP: 0-0.3

Before our tour at the Weldon Springs Interpretative Center, we were asked not to take any pictures of our tour guide nor of other employees. To be recorded publically, they would have had to obtain an official media clearance. The photo points to these limits, with the metal arch obscuring the group as it listens to the guide. In consequence, there are at least two aspects that should be retained in our written record. First were the upbeat style and delivery of our male guide, that shaped our experience of the exhibition. Our group asked him about his educational background and he briefly explained the process to become a certified interpreter. Second is the fact that we were being accompanied and followed around by a group of about six representatives of the Department of Energy. Our group came to agree that this number and associated costs are significant, pointing towards the attention that our (probably usual?) international group of scholars drew. It might have been curiosity or slight hostility, it's hard to tell, also because we didn't ask them directly. The image certainly captures some lessons and dynamics what it means to visit an educational fieldsite with a larger group in contrast to the 'lone fieldworker.'

The Tribute to the Mallinckrodt Uranium Workers is perhaps the most reflexive display in the Interpretive Center at Weldon Springs. By listing the names of the Mallinckrodt employees and acknowledging their sacrifices, the tribute at least intimates how the toxic process of uranium refinement, including the secrecy and deceit that surrounded it, impacted the lives of the local community. And yet, given the juxtaposition of the exhibit next to the "Timeline of the Nuclear Age" and an encompassing display on "The Process" of refinement, the critical nuance of this quotidian, human level is muddled by both the macro events of history and the micro details of scientific practice. It is also worth noting that in the online tour of the exhibit, the purpose and the meaning of the tribute bears no mention all. An image of the arch is provided, but not a single bit of context as to what it signifies. Instead, what we are given access to is only the timeline, the process description, and a romanticized version of the Mallinckrodt story taken from a tour guide that was written in 1959.